Felix Mendelssohn (1809 - 1847)
A Midsummer Night's Dream Overture
A Midsummer Night's Dream - A comedy Play
by WILLIAM Shakespeare (1564 - 1616)
background
instrumentation
TRANSPOSING I NSTRUMENTS
The Clarinet in A: these are pitched in A throughout the work, written a minor third higher than they sound
- so practice in transposing down a minor third.
- so practice in transposing down a minor third.
The Horns in E: these sound a minor sixth lower than written.
Trumpets in E: despite being ‘in E’ like the horns, these sound a major third higher than written.
The Double Bass is written an octave higher than it sounds
Viola is the only instrument in this piece that uses something other than bass or treble cleff.
Viola reads from alto clef
This is where you can find the note C in alto clef
Viola reads from alto clef
This is where you can find the note C in alto clef
DIRECTION s in the score
compositional Techniques
Mendelssohn’s music is tonal, but sometimes uses an extended vocabulary of chords, typical of the nineteenth century, which involves use of chromaticism and modal shifts between major and minor.
There are extended pedal points in some passages and the use of a drone. There is also use of sequential repetition and imitation.
There are extended pedal points in some passages and the use of a drone. There is also use of sequential repetition and imitation.
Structure and Form
A Midsummer Night's Dream Overture, is in a sophisticated kind of Sonata Form. See our Structure page for a more in depth explanation of Sonata Form!
Introduction (bars 1 - 5)
The introduction consists of four chords, played by the woodwind and brass. It begins with just two flutes,
playing the notes E and G#, which is a tonally ambiguous chord. It is not possible to tell if the following
music will be in the key of E major or C# minor. The third chord (A minor) is also unexpected in its minor
form, given a key signature of four sharps. This is the first of many modal shifts between major and minor
employed by Mendelssohn.
During the introduction the texture gradually thickens, as new instruments are added to each successive
chord. Clarinets join the flutes for the second chord, followed by bassoons and horns in the third chord and
oboes in the final chord. Since all the notes of the introduction are marked with pauses, it lies outside the
Allegro di molto tempo of the rest of the movement and there is no sense of regular metre.
playing the notes E and G#, which is a tonally ambiguous chord. It is not possible to tell if the following
music will be in the key of E major or C# minor. The third chord (A minor) is also unexpected in its minor
form, given a key signature of four sharps. This is the first of many modal shifts between major and minor
employed by Mendelssohn.
During the introduction the texture gradually thickens, as new instruments are added to each successive
chord. Clarinets join the flutes for the second chord, followed by bassoons and horns in the third chord and
oboes in the final chord. Since all the notes of the introduction are marked with pauses, it lies outside the
Allegro di molto tempo of the rest of the movement and there is no sense of regular metre.
WHOLE EXPOSITION (bars 6 - 249) Main Keys: E minor and E major
EXPOSITION: first subject (bars 6 - 61)
This begins with a link between the introduction and the start of the first subject (bb 5–6). Like the
introduction, there is a held chord, but now played by the string section and at the Allegro di molto tempo.
Unexpectedly it is an E minor chord, the minor version of the tonic key. The first theme is in the key of E
minor and is meant as a description of the fairies. Their fluttering wings are portrayed in the music through
the use of rushing quaver movement, staccato, high pitch and divided 1st and 2nd violins, giving a close
three- and four-part texture. The first eight bars of the theme are repeated almost exactly in bb 16–23, with
a very small change in the 2nd violin in b16 (compared with b8). The fairy music continues in bb 24–38, with the addition of pizzicato violas. Bb 24–25 are repeated in sequence in bb 26–27, a tone lower. B32 is a repetition of the music from b8 with a changed ending.
At bb 39–40 the strings are interrupted by a wind and brass chord. Since this is a long pianissimo chord,
played by wind and brass, it can be heard as a reference to the introduction. The chord itself is best
described as a diminished seventh (with an extra note) and is an example of Mendelssohn using an
extended vocabulary of chords. It resolves onto a B major chord (b41) and as it does so, the strings take up
the fairy music again. Bb 41–55 are the same as bb 24–40, but with most of the earlier pizzicato viola part
played by half of the 2nd violins instead.
At bb 56–57 the strings are again interrupted by the same wind and brass chord. At its resolution the strings
play a shortened version of bb 41–56, repeating b41 and the first half of b42, followed by the second half of
b54 and b55. The fairy music ends (for now) with a perfect cadence in E major in bb 61–62.
introduction, there is a held chord, but now played by the string section and at the Allegro di molto tempo.
Unexpectedly it is an E minor chord, the minor version of the tonic key. The first theme is in the key of E
minor and is meant as a description of the fairies. Their fluttering wings are portrayed in the music through
the use of rushing quaver movement, staccato, high pitch and divided 1st and 2nd violins, giving a close
three- and four-part texture. The first eight bars of the theme are repeated almost exactly in bb 16–23, with
a very small change in the 2nd violin in b16 (compared with b8). The fairy music continues in bb 24–38, with the addition of pizzicato violas. Bb 24–25 are repeated in sequence in bb 26–27, a tone lower. B32 is a repetition of the music from b8 with a changed ending.
At bb 39–40 the strings are interrupted by a wind and brass chord. Since this is a long pianissimo chord,
played by wind and brass, it can be heard as a reference to the introduction. The chord itself is best
described as a diminished seventh (with an extra note) and is an example of Mendelssohn using an
extended vocabulary of chords. It resolves onto a B major chord (b41) and as it does so, the strings take up
the fairy music again. Bb 41–55 are the same as bb 24–40, but with most of the earlier pizzicato viola part
played by half of the 2nd violins instead.
At bb 56–57 the strings are again interrupted by the same wind and brass chord. At its resolution the strings
play a shortened version of bb 41–56, repeating b41 and the first half of b42, followed by the second half of
b54 and b55. The fairy music ends (for now) with a perfect cadence in E major in bb 61–62.
EXPOSITION: Transition (bars 62 - 129)
This theme is meant to describe Theseus, Duke of Athens and is in E major. This is the first time that the tonic key of E major is firmly established and is marked by the whole orchestra playing with a sudden ff. It is also here that the ophicleide makes its first appearance. The theme is followed by music (bb 70–77) which anticipates the hunting calls heard later in the movement (a dotted minim – crotchet figure) played by most of the orchestra.
There is then a new version of the Theseus theme (b63 in augmentation). The falling E major scale is now reworked into minims and is presented in imitation over a tonic pedal (bb 78–85). The accompanying pedal note is rhythmicised in the strings, with a crotchet – two quavers rhythm, giving the music forward momentum. From b86 the falling minim scale in imitation is repeated, but with instruments arranged differently. This leaves the rhythmicised pedal to be carried solely by the violas. The crotchet – two quavers rhythm is taken up by the strings again in b90 and is used as a means of modulating. At b98 the music is in the dominant key of B major and the fairy theme from b8 returns, but this time in the major key of the dominant.
The key is not the only difference in this presentation of the fairy theme. The music is played legato rather than staccato and is played by all the strings (except the basses), rather than divided violins. It is also accompanied by much of the woodwind and brass and the dynamic is loud, rather than the pianissimo that was used before.
The four bars of the fairy theme are followed by four bars which serve to move the pitch up a tone. This then allows the fairy theme to be repeated as a rising sequence in bb 106–109 and again in bb 114–117, where it has reached the key of E major. This return to the tonic is unusual, as the second subject is expected next, in the dominant key of B major. However, over the next 12 bars Mendelssohn modulates
once again, from E major to the dominant B major.
The modulation is achieved with the help of a diminished 7th chord at b120, played sf. This resolves onto a chord of F#7, the dominant of the dominant. Imitation is then used in the next few bars. First the 1st violins play a falling F#7 arpeggio figure, imitated an octave lower by the 2nd violins two bars later and then the violas another octave lower one bar later. The repeated F#7 chord is finally resolved onto B major with the start of the second subject at b130.
There is then a new version of the Theseus theme (b63 in augmentation). The falling E major scale is now reworked into minims and is presented in imitation over a tonic pedal (bb 78–85). The accompanying pedal note is rhythmicised in the strings, with a crotchet – two quavers rhythm, giving the music forward momentum. From b86 the falling minim scale in imitation is repeated, but with instruments arranged differently. This leaves the rhythmicised pedal to be carried solely by the violas. The crotchet – two quavers rhythm is taken up by the strings again in b90 and is used as a means of modulating. At b98 the music is in the dominant key of B major and the fairy theme from b8 returns, but this time in the major key of the dominant.
The key is not the only difference in this presentation of the fairy theme. The music is played legato rather than staccato and is played by all the strings (except the basses), rather than divided violins. It is also accompanied by much of the woodwind and brass and the dynamic is loud, rather than the pianissimo that was used before.
The four bars of the fairy theme are followed by four bars which serve to move the pitch up a tone. This then allows the fairy theme to be repeated as a rising sequence in bb 106–109 and again in bb 114–117, where it has reached the key of E major. This return to the tonic is unusual, as the second subject is expected next, in the dominant key of B major. However, over the next 12 bars Mendelssohn modulates
once again, from E major to the dominant B major.
The modulation is achieved with the help of a diminished 7th chord at b120, played sf. This resolves onto a chord of F#7, the dominant of the dominant. Imitation is then used in the next few bars. First the 1st violins play a falling F#7 arpeggio figure, imitated an octave lower by the 2nd violins two bars later and then the violas another octave lower one bar later. The repeated F#7 chord is finally resolved onto B major with the start of the second subject at b130.
EXPOSITION: second subject, first theme (bars 130 to 193)
Mendelssohn stated that this theme, played initially by the clarinets, represented the two pairs of tender lovers, who lose and then find themselves. Like many of Mendelssohn’s themes, this begins with a four-bar phrase, which is then immediately repeated over a varied accompaniment. The melody is then taken over by the 1st violins from b138, over a tonic pedal (B) in the cellos and basses. At bar 162 the melody is extended by repetition of the material from bb 140–141.
At b166 the soft, lyrical melody is interrupted by a loud fanfare interjection in the woodwind and brass, which could represent Theseus. The strings continue their lyrical theme in b168, but are again interrupted by the fanfare in b174.
The strings appear to have picked up the sense of urgency from the woodwind and brass as there is a
crescendo and the 1st violin melody of bb 179–180 is repeated as a rising sequence in bb 181–182 and
183–184. The orchestration also becomes thicker as some of the woodwind join the strings in b182. There
is antiphonal writing between the strings and woodwind and brass in bb 186–191 as they play the same
rhythm but a minim apart. A loud two-octave descending scale (the scale of F# major, but beginning on E) in
the 1st violins in bb 192–193 leads into the next theme.
At b166 the soft, lyrical melody is interrupted by a loud fanfare interjection in the woodwind and brass, which could represent Theseus. The strings continue their lyrical theme in b168, but are again interrupted by the fanfare in b174.
The strings appear to have picked up the sense of urgency from the woodwind and brass as there is a
crescendo and the 1st violin melody of bb 179–180 is repeated as a rising sequence in bb 181–182 and
183–184. The orchestration also becomes thicker as some of the woodwind join the strings in b182. There
is antiphonal writing between the strings and woodwind and brass in bb 186–191 as they play the same
rhythm but a minim apart. A loud two-octave descending scale (the scale of F# major, but beginning on E) in
the 1st violins in bb 192–193 leads into the next theme.
EXPOSITION: second subject, second theme (bars 194 - 222)
This theme represents the workmen, who rehearse a play to perform in front of Theseus. Bottom (one of the characters) is transformed into a donkey and Mendelssohn clearly portrays this in his music. The theme begins with a repeated accented pedal note on the tonic (B), joined by the dominant (F#) two bars later. The repetition and accenting of these notes makes them sound like rustic drones
In bb 199–200 and 200–201 the melody uses the rhythm crotchet – dotted minim and the repeated interval of a falling 9th. This represents the hee-haw sound of the transformed Bottom. The fact that all the instruments playing at this point use the same rhythm makes it stand out very clearly. The rustic nature of this theme is also demonstrated in its simplicity and use of much repetition. The theme ends with many repeated donkey brays, this time extended to a falling 10th (bb 214–216) and at a lower pitch (bb 218–220). The section ends with a perfect cadence in B major (bb 221–222).
In bb 199–200 and 200–201 the melody uses the rhythm crotchet – dotted minim and the repeated interval of a falling 9th. This represents the hee-haw sound of the transformed Bottom. The fact that all the instruments playing at this point use the same rhythm makes it stand out very clearly. The rustic nature of this theme is also demonstrated in its simplicity and use of much repetition. The theme ends with many repeated donkey brays, this time extended to a falling 10th (bb 214–216) and at a lower pitch (bb 218–220). The section ends with a perfect cadence in B major (bb 221–222).
exposition: Codetta (bars 222 - 249)
The codetta begins with hunting calls of the royal hunting party of Theseus and Hippolyta in the horns, doubled by the trumpets. These were anticipated in b71. Like many of Mendelssohn’s themes, the hunting calls consist of a four bar phrase (bars 222–261), which is immediately repeated with denser orchestration.
There is then a surprise return of the theme representing Theseus, this time in the dominant. A variation on
the horn calls then follows, played in imitation, with upper strings imitating the horns and trumpets one bar
later.
From b238 the emphasis is very firmly on the chord (and key) of B major, which is repeated until b249. From
bb 246–249 the whole orchestra simply play a descending B major arpeggio, over a tonic pedal. This marks
the end of the exposition and at this stage all the character themes have been introduced.
There is then a surprise return of the theme representing Theseus, this time in the dominant. A variation on
the horn calls then follows, played in imitation, with upper strings imitating the horns and trumpets one bar
later.
From b238 the emphasis is very firmly on the chord (and key) of B major, which is repeated until b249. From
bb 246–249 the whole orchestra simply play a descending B major arpeggio, over a tonic pedal. This marks
the end of the exposition and at this stage all the character themes have been introduced.
DEVELOPMENT: (bars 250 - 393)
This is mainly based on material from the first subject, which represents the fairies. After the emphatic chord of B major at the end of the exposition, there is a sudden change as the fairy theme is played in B minor. This corresponds to the theme being first introduced in E minor, despite the key of the overture being E major. As at the start of the exposition, the theme is played initially by divided 1st and 2nd violins. However, this time there are added interjections from the woodwind and from b258 a varied version of the melody is passed down through the strings at two-bar intervals. Whilst the cellos are playing in bb 264–270 there is accompaniment from the flutes and bassoons in the form of a long held diminished chord. The length and orchestration of this chord refers to the introduction. The repeated D in the cello part completes the chord, making it a diminished 7th, which resolves onto F# minor in b270. This is chord II in E major, but can also be thought of as the dominant (minor) of the dominant, B major. Here the fairy theme is heard again, in F# minor, with new accompanying arpeggios added in the woodwind. As at the start of the development, after eight bars of the theme it is passed down through the strings at two-bar intervals (bb 278–283). However, this time, before it can be played by the cellos it is interrupted by the fanfare motif, first heard in b166. From b284 this fanfare motif is passed around the orchestra.
Whilst the fanfare idea continues, the violins take up the first bar of the fairy theme again in b290, in E minor, repeating it in imitation between the 1st and 2nd violins. However, they only manage to continue this for four bars before it disintegrates into repeated quavers and a descending B minor scale in the divided violas in b294. Against the violas is heard a loud interjection from the horns con tutta la forza. This could be a reference to the second theme of the second subject, which was loud and unsubtle. Bb 290–297 are repeated in bb 298–305, but this time beginning in B minor, rather than E minor. The development and fragmentation of the fairy theme continues from b306, where the 1st violins play just the first bar of the theme before stopping. In b308 the melodic shape is then changed from the very familiar rising 4th followed by stepwise descent to simply four stepwise descending quavers. This four-bar pattern (bb 306–309) is repeated as a rising sequence (bb 310–313). This leads to an unexpected perfect cadence in D major (bb 315–316) and the return of a longer section of the fairy theme. However, the theme is still being developed; although it begins in the same way as the opening it soon becomes just a decorated version of a descending D major scale. This takes place against the woodwind still playing fanfare interjections.
The final development of the fairy theme is left to the violas and cellos (bb 324–334). The quaver melodic shape eventually just becomes repeated quavers, which are taken up by the violins in b334. The pizzicato accompaniment from the cellos and half the divided 2nd violins is similar to the original pizzicato accompaniment to the fairy theme from b24, but is now every minim beat, rather than every crotchet.
Bb 340–341 are another perfect cadence in D major, a key very distant from the tonic of the overture, E major.
From b376 there is a reference to the end part of the love theme (second subject, first theme, bb 168–174). It is thought that this may refer to the lovers falling asleep in the forest as the music is very quiet, slowing down and with many pauses, giving it the effect of a recitative. Bb 380–382 are an interrupted cadence in C# minor. The development section ends with a repeated C# minor chord. This is the relative minor
(chord VI).
Whilst the fanfare idea continues, the violins take up the first bar of the fairy theme again in b290, in E minor, repeating it in imitation between the 1st and 2nd violins. However, they only manage to continue this for four bars before it disintegrates into repeated quavers and a descending B minor scale in the divided violas in b294. Against the violas is heard a loud interjection from the horns con tutta la forza. This could be a reference to the second theme of the second subject, which was loud and unsubtle. Bb 290–297 are repeated in bb 298–305, but this time beginning in B minor, rather than E minor. The development and fragmentation of the fairy theme continues from b306, where the 1st violins play just the first bar of the theme before stopping. In b308 the melodic shape is then changed from the very familiar rising 4th followed by stepwise descent to simply four stepwise descending quavers. This four-bar pattern (bb 306–309) is repeated as a rising sequence (bb 310–313). This leads to an unexpected perfect cadence in D major (bb 315–316) and the return of a longer section of the fairy theme. However, the theme is still being developed; although it begins in the same way as the opening it soon becomes just a decorated version of a descending D major scale. This takes place against the woodwind still playing fanfare interjections.
The final development of the fairy theme is left to the violas and cellos (bb 324–334). The quaver melodic shape eventually just becomes repeated quavers, which are taken up by the violins in b334. The pizzicato accompaniment from the cellos and half the divided 2nd violins is similar to the original pizzicato accompaniment to the fairy theme from b24, but is now every minim beat, rather than every crotchet.
Bb 340–341 are another perfect cadence in D major, a key very distant from the tonic of the overture, E major.
From b376 there is a reference to the end part of the love theme (second subject, first theme, bb 168–174). It is thought that this may refer to the lovers falling asleep in the forest as the music is very quiet, slowing down and with many pauses, giving it the effect of a recitative. Bb 380–382 are an interrupted cadence in C# minor. The development section ends with a repeated C# minor chord. This is the relative minor
(chord VI).
the recapitulation (bars 394 - 619)
The recapitulation begins with the wind chords from the introduction, with a few significant differences. The first chord, which in b1 was ambiguous, is now clearly a C# minor chord, as it is supported by the strings playing C# minor. The final chord is extended by three bars and divided violins are added in b398. The violins continue after the wind chords end, changing the chord from E major to E minor in b402.
The fairy theme returns in b404, played by divided violins as before, in the key of E minor. However, unlike the first time it was heard in the exposition, there are now added interjections from the wind and brass in the form of short single notes and long held notes. These are similar to the interjections added to the theme at the beginning of the development. The fairy theme is also presented in a shorter form.
Effectively bb 24–40 from the exposition are omitted and the music moves straight to the version where the pizzicato accompaniment is played by the 2nd violins rather than the violas. At this point a timpani roll on the dominant is also added. At b432 the music takes an unexpected change of direction, moving briefly to C major, but soon returns to the dominant seventh chord (B7
at b442).
There is no reprise of the beginning of the transition theme at this point (the royal theme of the court of Athens). Instead there is a much shorter transition, beginning at b442. The wind and brass parts here are very similar to those at b122, but the string parts are much more clearly related to the fairy theme. The other obvious difference between this section and the corresponding section in the exposition is that here it is designed to lead to the second subject in the tonic key, whereas in the exposition it modulated to the
dominant key.
At b450 we hear the second subject, first theme, which is the music for the pairs of lovers. Not only is it now in the tonic (instead of the dominant), but it has been reorchestrated. The melody in the first eight bars (a repeated four-bar phrase) is played by the 1st flute instead of the 1st clarinet.
When the 1st violins continue the lovers’ theme at b458 it is very similar to the exposition. The melody is doubled by the 2nd violins an octave lower and the cellos and basses play a tonic pedal. The main difference between these bars and the corresponding point in the exposition (other than the key) is that the clarinets join the accompaniment before the flutes (rather than the other way round). As in the exposition, the love theme is interrupted by woodwind and brass fanfares from b486 and again at b494.
From b498, towards the end of the love theme, there is a tonic pedal in octaves in the horns. In the exposition this was just a long held note, but here it has been rhythmicised in crotchets with some rests. At b512, rather than having a descending scale leading into the next theme (as in bb 192–193) Mendelssohn this time uses a descending dominant 7th arpeggio.
The second subject, second theme begins as in the exposition, with a tonic pedal, joined by a dominant pedal two bars later, giving a rustic drone effect. This time the donkey brays are emphasised further by an even wider leap of a descending 11th (bb 5193
–521). The second half of the melody (from b525) is more richly orchestrated as the violins play continuously rather than playing alternate bars. The donkey bray descending leaps at the end of the theme (from b534) are back to 10ths as they were in the exposition.
At b542 we might expect the coda, as this point was the start of the codetta in the exposition. However, Mendelssohn brings back music from the transition (b78). This begins in a very similar way to the time it was first heard, with descending woodwind and brass scales in the tonic key in imitation, over a repeated rhythmicised tonic pedal in the lower strings. In the recapitulation a timpani roll on the tonic has also been added. From b550 the scales are developed but at bb 584–585 there is a perfect cadence in E major.
From b586 the transition theme returns, which is the royal music of the court of Theseus (first heard from b62). This has not so far been a part of the recapitulation, so it returns in a different place in relation to the other themes, when compared with the exposition. Because the descending scales which followed this theme in the exposition have already been reprised, the music then moves on to the hunting music, which was originally heard in the codetta (b222). It is now much more richly scored, with the whole orchestra playing. There is still imitation between the strings and woodwind and brass from b601.
The hunting music can be heard as a series of repeated accented plagal cadences. This is followed by the whole orchestra outlining the notes of the tonic chord, making the overture sound as though it has finished. This is emphasised by the fact that the music from the codetta has been reprised and b594 onwards could be heard as the coda. However, Mendelssohn makes this a false ending and at b620 we hear the real coda.
The fairy theme returns in b404, played by divided violins as before, in the key of E minor. However, unlike the first time it was heard in the exposition, there are now added interjections from the wind and brass in the form of short single notes and long held notes. These are similar to the interjections added to the theme at the beginning of the development. The fairy theme is also presented in a shorter form.
Effectively bb 24–40 from the exposition are omitted and the music moves straight to the version where the pizzicato accompaniment is played by the 2nd violins rather than the violas. At this point a timpani roll on the dominant is also added. At b432 the music takes an unexpected change of direction, moving briefly to C major, but soon returns to the dominant seventh chord (B7
at b442).
There is no reprise of the beginning of the transition theme at this point (the royal theme of the court of Athens). Instead there is a much shorter transition, beginning at b442. The wind and brass parts here are very similar to those at b122, but the string parts are much more clearly related to the fairy theme. The other obvious difference between this section and the corresponding section in the exposition is that here it is designed to lead to the second subject in the tonic key, whereas in the exposition it modulated to the
dominant key.
At b450 we hear the second subject, first theme, which is the music for the pairs of lovers. Not only is it now in the tonic (instead of the dominant), but it has been reorchestrated. The melody in the first eight bars (a repeated four-bar phrase) is played by the 1st flute instead of the 1st clarinet.
When the 1st violins continue the lovers’ theme at b458 it is very similar to the exposition. The melody is doubled by the 2nd violins an octave lower and the cellos and basses play a tonic pedal. The main difference between these bars and the corresponding point in the exposition (other than the key) is that the clarinets join the accompaniment before the flutes (rather than the other way round). As in the exposition, the love theme is interrupted by woodwind and brass fanfares from b486 and again at b494.
From b498, towards the end of the love theme, there is a tonic pedal in octaves in the horns. In the exposition this was just a long held note, but here it has been rhythmicised in crotchets with some rests. At b512, rather than having a descending scale leading into the next theme (as in bb 192–193) Mendelssohn this time uses a descending dominant 7th arpeggio.
The second subject, second theme begins as in the exposition, with a tonic pedal, joined by a dominant pedal two bars later, giving a rustic drone effect. This time the donkey brays are emphasised further by an even wider leap of a descending 11th (bb 5193
–521). The second half of the melody (from b525) is more richly orchestrated as the violins play continuously rather than playing alternate bars. The donkey bray descending leaps at the end of the theme (from b534) are back to 10ths as they were in the exposition.
At b542 we might expect the coda, as this point was the start of the codetta in the exposition. However, Mendelssohn brings back music from the transition (b78). This begins in a very similar way to the time it was first heard, with descending woodwind and brass scales in the tonic key in imitation, over a repeated rhythmicised tonic pedal in the lower strings. In the recapitulation a timpani roll on the tonic has also been added. From b550 the scales are developed but at bb 584–585 there is a perfect cadence in E major.
From b586 the transition theme returns, which is the royal music of the court of Theseus (first heard from b62). This has not so far been a part of the recapitulation, so it returns in a different place in relation to the other themes, when compared with the exposition. Because the descending scales which followed this theme in the exposition have already been reprised, the music then moves on to the hunting music, which was originally heard in the codetta (b222). It is now much more richly scored, with the whole orchestra playing. There is still imitation between the strings and woodwind and brass from b601.
The hunting music can be heard as a series of repeated accented plagal cadences. This is followed by the whole orchestra outlining the notes of the tonic chord, making the overture sound as though it has finished. This is emphasised by the fact that the music from the codetta has been reprised and b594 onwards could be heard as the coda. However, Mendelssohn makes this a false ending and at b620 we hear the real coda.
RECapitulation: Coda (bars 620 - 686)
This section forms the final surprise, as the music sounds as though it is already finished. The fairies’ theme is heard again, in E minor, as in the exposition, giving them the final word just as in the play. Although the melody is played staccato, as in b8, the accompaniment is legato (as at b98). The theme is accompanied by woodwind arpeggios, similar to those used in the accompaniment in the development section (b270), but in the coda they are now twice as fast.
As in the exposition, the fairies’ music is interrupted by a wind and brass chord (a diminished 7th with an extra note). However, unlike the exposition, this chord continues into a descending scale in semibreves. This becomes gradually quieter and instruments drop out until there are only clarinets and horns remaining. The sudden interruption of the fairies’ theme with much slower-moving music makes a striking change of mood.
The royal theme from the transition is heard in transformed version one more time at b663, in the tonic key. The second phrase is transformed further, with the addition of triplets.
The piece ends just as it began, with the four woodwind and brass chords. This time the lingering E major chord from the strings in b682 leaves no doubt that the key of the movement is E major. The other alteration to these chords is the use of slightly difference spacing and the addition of a dominant timpani roll on the final chord. From b663 there is a dream-like quality to the music.
As in the exposition, the fairies’ music is interrupted by a wind and brass chord (a diminished 7th with an extra note). However, unlike the exposition, this chord continues into a descending scale in semibreves. This becomes gradually quieter and instruments drop out until there are only clarinets and horns remaining. The sudden interruption of the fairies’ theme with much slower-moving music makes a striking change of mood.
The royal theme from the transition is heard in transformed version one more time at b663, in the tonic key. The second phrase is transformed further, with the addition of triplets.
The piece ends just as it began, with the four woodwind and brass chords. This time the lingering E major chord from the strings in b682 leaves no doubt that the key of the movement is E major. The other alteration to these chords is the use of slightly difference spacing and the addition of a dominant timpani roll on the final chord. From b663 there is a dream-like quality to the music.